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The modern concept of voice registers/configurations

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Manolito Mystiq

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‘Cry can be heard in Pop/Commercial singing, and also in Early Music and Folk Music. It is a quality some singers use when they sing in what they would describe as head voice but are not using Falsetto or Opera.’

‘Falsetto can be modified with options from the Opera Recipe. Indeed, there are some singing teachers who maintain that all women are in their falsetto register in the head voice. The Estill Voice Model can be used to demonstrate how women may use a Stiff True Vocal Fold: Body-Cover in combination with other vocal tract conditions of an operatic voice production. This would explain the problems some lyric and coloratura sopranos experience projecting their voices low in the range, i.e. the intensity of a Stiff fold sound decreases lower in the their range. Estill Voice Training provides an alternative in its Recipe for Opera with Squillo.’

For instance sopranos use M2 in most of their range.

You mean soprano in the sense of opera singing? They use Opera.

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Manolito,

Yes, EVT has there own definitions. However, M2 equals "stiff vocal folds". And in the very high range you can only use M2. Sopranos (classical) use M2, hence "stiff vocal folds".

But don't take my word for it. This has been studied by voice scientists. And to be honest, there are several things which is confusing in EVT. :)

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"But what is truth? Is truth unchanging law? People have truths. Are mine the same as yours?" - Pontius Pilate (from "Jesus Christ, Superstar.")

Sorry, the exchange about truth caused that old verse to rattle once more from the dusty, cobweb-encased recesses of my brain. Which didn't take long. I only have 3 brain cells, so there's lots of room.

:lol:

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Truth is the way forward lol!! This thread really confirms the point that voice training systems can only go so far for some people. I trained and certified in SLS years ago and bailed because I wasn't happy with the definitions and how they approached technique. I certainly became a better teacher and singer when I opened up to other things and forgot about the terminology.

Knowledge isn't always power... it can be crippling and a creativity killer. Defining the feelings and registers with your own terminology is a great way to proceed, whilst working with someone who has a hope of helping you to feel all of the registers and settings in the first place.

Learning from all techniques, combined with vocal science, is the way forward.

I'm so not a fan of voice training systems... that may become my new signature ;)

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Truth is the way forward lol!! This thread really confirms the point that voice training systems can only go so far for some people. I trained and certified in SLS years ago and bailed because I wasn't happy with the definitions and how they approached technique. I certainly became a better teacher and singer when I opened up to other things and forgot about the terminology.

Knowledge isn't always power... it can be crippling and a creativity killer. Defining the feelings and registers with your own terminology is a great way to proceed, whilst working with someone who has a hope of helping you to feel all of the registers and settings in the first place.

Learning from all techniques, combined with vocal science, is the way forward.

I'm so not a fan of voice training systems... that may become my new signature ;)

Dan once called it "paralysis by analysis." I am fully capable of following highly technical descriptions, especially in my line of work. But even there, I find it more applicable to simplify. So, while I could use the EPR event in Quantum Mechanics to describe current flow in a wire, it is more applicable to apply the general rule I would teach beginners. Electricity seeks the shortest route to ground so stay out of it's way. Apply that precaution as necessary. It will inform what you should do in any circumstance without needing to use the hyperbolic trigonometry functions as applied in topology (set theory on steroids) or even complex numbers (linear algebra and analytic geometry applied to electron current flow) each and every time. Just stay out of electricity's way.

But what I found in singing and teaching or writing or thinking about singing, is that there can be many views and sound ideals and some may even appear to oppose each other, even as we are all using the same type of structure. So, better to find the language that you (whoever you are) understands most easily and brings you to the style of singing that you want to do. And, carte blanche, take ideas from other systems as they may apply to you, as well, as if it were a salad bar (watch out for the croutons, they are like pebbles.)

And different people learn in different ways. Some have done okay on their own. Or from studying materials on their own. Others have done well with instructors. And not just any instructor but specific ones and who is good for you is probably going to be subjective. And it's okay to learn alone, as well as consult or visit once or twice with a teacher or coach. Or just someone who's singing you admire and see if their perspective helps you in any way.

And, to quote Jens, sort of, "results count."

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